Friday, February 12, 2010

Yesterday the Guardian picked up on a rather fine rant by Julian Gough (right) on the state of Irish letters, in which the Berlin-based scribe put the boot into the current generation of Irish writers for not engaging with modern Ireland. The gist runneth thusly:

“I hardly read Irish writers any more, I’ve been disappointed so often. I mean, what the FECK are writers in their 20s and 30s doing, copying the very great John McGahern, his style, his subject matter, in the 21st century? To revive a useful old Celtic literary-critical expression: I puke my ring. And the older, more sophisticated Irish writers that want to be Nabokov give me the yellow squirts and a scaldy hole …“The role of the Irish writer is not really to win prizes in Ireland; their role historically has been to get kicked out of the country for telling the truth. And there’s not quite enough of that going on. Just when we need a furious army of novelists, we are getting fairly polite stuff published by Faber & Faber that fits into the grand tradition … At the moment Ireland has one, massively developed, lyrical realism arm which is all biceps, and the other arm, the odd, freaky, tattooed arm, needs to be built up. In a way I’m trying to rally a few young writers around a flag which hasn’t been waved in a while. You can’t save the world with a novel, but it can put a tiny featherweight on the scales.”

Ach, Julian, get down off the fence and say what you mean, squire. For the full and delightfully bilious rant, clickety-click here. For the reaction of various Irish writers, including John Banville and Sebastian Barry, clickety-click here. If you want to give Julian an even scaldier hole for overlooking the horde of Irish crime writers currently putting the ire into Ireland, or if you don’t believe that crime fiction is entitled to consider itself part of Irish literature, the comment box is open for business ...

This week I have been mostly reading: SICILIAN CAROUSEL by Lawrence Durrell; THE TEMPEST by William Shakespeare; and CLOUD ATLAS by David Mitchell.

Tuesday, February 9, 2010

The publishing industry is in a state of chassis, if I can misquote Sean O’Casey, the Amazon-Macmillan slugfest being the latest example of how the writer and the reader, inarguably the most important elements of the publishing food-chain, are being ill-served by the intermediaries. Writers want to write, readers want to read … it should be easy, right? Nope. Readers are still getting their fill, given that (according to Henry Porter, below) “during the worst recession for 80 years, book sales went down last year by just 1.2% in value and only 0.5% in volume.” On the other hand, writers are having advances slashed and contracts torn up, this when they can get published at all. A good friend of mine, and a damn fine writer, who shall remain nameless lest the publisher that keeps him on the breadline gets a whiff of sulphur, has advocated on more than one occasion recently that like-minded writers should get together and set up a co-op, akin to the United Artists studio of early Hollywood lore. In theory, it can be done: e-publishing and print-on-demand are just two elements of contemporary technology that allow writers to circumvent the publishing circus and go straight to readers. Okay, it won’t be happening today or tomorrow, but there’s a momentum building that suggests it’s becoming a distinct possibility in the near future. Hell, a media-savvy band of writers that rides the environmentally-friendly ticket (e-pub and POD = more Rain Forest) could discover that Green = the green. First problem: self-publishing is vanity publishing, right? Leaving aside the fact, as @stevemosby pointed out on Twitter last week, that all publishing is vanity publishing, the idea that it’s bad to have the courage of your convictions appears to be limited to the publishing industry. Quoth Simon Crump on the Guardian Book Blog:

“But surely that’s a business model, a standard template for ambition? The conviction that what you’ve got is good enough to release into the wild and stands a reasonable chance of selling is at the heart of launching any new product.”

“What worries me is the loss of income for writers in what is a pretty healthy market, the loss of good editors from publishing houses and the disdain for writers by retailers – people who depend on them. If they are not careful the core talent of the book trade may well combine in new types of ventures – collectives and transparent relationships where writers and editors go into business together on a 50:50 basis and are enabled by web platforms, ebooks and print on demand… disintermediation of a more radical sort.”

Heady stuff, folks, in theory at least. But I’m genuinely curious: as a reader (and all writers are readers first and foremost, or the good ones are anyway), what’s your take on the self-published book? Does it come freighted with overweening ambition and reeking of talentless desperation? Or is there the possibility that a self-published novel might simply be one that doesn’t fit the industry’s current requirements? Is there, for that matter, the possibility that there’s a small but perfectly formed audience out there hungry for novels and authors that don’t fit the industry’s current requirements? I’m not a fool, and these days I certainly can’t afford to be parted from my money by investing in self-published novels and author co-ops and similar fripperies. And yet there’s a part of me that keeps nagging on about how now is the time to get in on the ground floor with self-pub POD, before the big companies wise up and move in with faux-indie offshoots and sponsored writing collectives and the like. Or is it already too late?

Monday, February 8, 2010

Between you and me, the video below – in which Alan Glynn talks about WINTERLAND – is probably the most boring video you’ll ever see. Even the colour of the wall behind Alan is boring. The questions are boring, the answers are boring, and even Alan himself – handsome devil though he undoubtedly is – is a notch or two below his usual sparkling repartee. All of which is a moot point: talking about writing is akin to trampolining about sex, to mangle a bad metaphor. Just go ahead and get your hands on the superb WINTERLAND – trust me, you won’t regret it. Roll it there, Collette – if you must …

Crime Always Pays

The Lost and The Blind

“Burke shows again that he’s not just a comic genius, but also a fine dramatic writer and storyteller.” – Booklist

Absolute Zero Cool

“Among the most memorable books of the year, of any genre, was Declan Burke’s ABSOLUTE ZERO COOL ... a fiendishly dark thriller that evokes the best of Flann O’Brien and Bret Easton Ellis.” - Sunday Times

Books To Die For

“As good a collection of short essays on crime fiction as one is likely to find.” - Washington Post